I don’t know when the term revisionist Western came into widespread use, but it’s time we retired it. Even when it meant something, it was a bit of an overstatement; most of the great Westerns bucked convention in one way or another. But starting around the 1960s, it seemed like every entry in the genre pointedly tried to rewrite our collective dream of the West. The unmaking-of-a-myth in The Man Who Shot Liberty Valance, or the heightened violence in The Wild Bunch, or the anti-romance in McCabe & Mrs. Miller, or the ugliness of justice in Unforgiven — they all told us, “It’s not like you thought it was. It’s not what the movies have told you.”But the movies haven’t been telling us much for some time. And now we’ve finally gone through the looking glass with The Salvation, which is about as conventional and
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Cinedigm Corp. has closed a three year deal to acquire domestic rights to 12 films from The Asylum. Cinedigm will handle all film rights including theatrical, digital, video-on-demand, and physical home, and will make the titles available to their growing slate of over-the-top (aka streaming) digital networks, including CONtv, which is targeted to fanboy audiences. The Asylum, led by partners David Michael Latt, Paul Bales and David Rimawi, has been behind such genre, high concept titles such as Syfy’s cult hit Sharknado. Among the titles in the Cinedigm pact that will get The Asylum satiric treatment are: Troy: The Odyssey (Action Fantasy), Little Dead Rotting Hood (Horror),Butch Cassidy and The Wild Bunch (Western) and Fortune Cookie (Horror). Asylum finances, produces and releases 20-25 films a year through its direct distribution to top retailers and foreign partners. The deal was negotiated on behalf of The Asylum by David Garber and Cinedigm’s Yolanda Macias.
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Now this is a list that could result in a lot of fascinating dissection and thanks to HitFix it comes to our attention almost three years after it was originally released back in 2012, celebrating the Motion Picture Editors Guild's 75th anniversary. Over at HitFix, Kris Tapley asks, "Is this news to anyone elsec" Um, yes, I find it immensely interesting and a perfect starting point for anyone looking to further explore the art of film editing.
In an accompanying article we get the particulars concerning what films were eligible and how films were to be considered:
In our Jan-feb 12 issue, we asked Guild members to vote on what they consider to be the Best Edited Films of all time. Any feature-length film from any country in the world was eligible. And by "Best Edited," we explained, we didn't just mean picture; sound, music and mixing were to be considered as well.
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A random bit of researching on a Tuesday night led me to something I didn't know existed: The Motion Picture Editors Guild's list of the 75 best-edited films of all time. It was a feature in part celebrating the Guild's 75th anniversary in 2012. Is this news to anyone else? I confess to having missed it entirely. Naturally, I had to dig in.
What was immediately striking to me about the list — which was decided upon by the Guild membership and, per instruction, was considered in terms of picture and sound editorial as opposed to just the former — was the most popular decade ranking. Naturally, the 1970s led with 17 mentions, but right on its heels was the 1990s. I wouldn't have expected that but I happen to agree with the assessment.
Thelma Schoonmaker's work on "Raging Bull" came out on top, an objectively difficult choice to dispute, really. It was so transformative,
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The Swiss festival dedicated to indie cinema will present Peckinpah’s complete filmography – with several films screened in newly restored prints – and a selection of his efforts for television ranging from works he wrote, produced or co-directed to those in which he performed as an actor. The screenings will be accompanied by discussions and a roundtable led by invited critics and filmmakers.

The retro is curated by Italian film programmer and historian Roberto Turigliatto.

Co-organizers are the Cinémathèque suisse in Lausanne, and the Cinémathèque française in Paris, which will host the entire program in September.
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